Mr Chan Soo Sen, Parliamentary Secretary, Prime Minister's Office and Ministry of Community Development, officiated at the Seminar on Literature and Society organised by the Chinese Studies Department, NUS on January 30. He called on local literati and Chinese clan associations to work together to further develop Chinese literature in Singapore.
Following is the full text of his speech.
For twelve years, I was educated in a traditional Chinese school. Even though I graduated from a science class eventually, I still profess a profound sentiment for Chinese literature. I have studied the ancient texts of the Western and Eastern Zhou Dynasties, the Spring and Autumn Period and the Warring States Period, the rhyme prose of the Han Dynasty, Tang and Song poetry, the novels of the Ming and the Qing Dynasties, as well as modern literature. Much of these were etched in my mind. Sometimes, when I come across these works, I feel a special affinity for them.
From the ideal society of “the Great Harmony and Minor Prosperity”, the educational philosophy encapsulated in the“Three Character Classic”, the emotions of bidding farewell to a close friend in “Farewell to Yuan Er”, the rousing passions of “An Ode to Integrity”, the vivid characterisation of “The Water Margin”, the evil men and gallant heroes of “The Romance of the Three Kingdoms”； to the father-son bond portrayed in “The View of His Back”, the conflicts of heroic men and women in “A Letter of Farewell to My Wife”, the poignant comedy of a nation's sorrow in“The Story of Ah Q”； these works portray different societies and sentiments using different styles and different angles, but they are all equally riveting.
Chinese literature has a very long history and has witnessed some turbulent times. No other language has the ability to let readers enjoy so many literary works that are more than 3,000 years old, nor let them benefit so greatly from the wisdom of the Ancients.
The love of the Chinese literati for their language has never been affected by the state of the world around them. Many great literary works were written in the worst possible environment, when the authors were in the throes of great physical and spiritual pain.
They sought no rewards for their hard labours, only to reflect the society around them so that future generations could share their thoughts and emotions. These literary figures also possessed professionalism. They took their work seriously and were fully committed to their work. This love for writing is an important factor contributing to the breadthless scope and continuity of Chinese literature.
When I was involved with the Suzhou Industrial Park, I could feel the love of literature among the people there. Then, I often met up with my friends working in the Suzhou Municipal Propaganda Department and the Broadcasting Bureau. There were many men of letters in these departments whose impassioned discussions covered a wide range of topics.
Sometimes, warmed by a little wine, they would recite poetry and write them down with brush and ink. They would then exchange these works of calligraphy for fond remembrance. I have noticed that many in Suzhou's broadcasting circles have published anthologies, poetry and essays, and were proud that they have done so.
With the exodus of many Chinese immigrants early this century, men of letters also settled down in places where there were many Chinese immigrants. The Chinese literary scene in Singapore and Malaysia had gone through a very active phase. I remember reading many travelogues, essays and translated works （I read “The Malay Annals” in Chinese）
by Singaporean and Malaysian Chinese writers in my youth. Many newspapers and young people's magazines also published Chinese works from other countries in Southeast Asia. This promoted interaction and understanding among the different societies in the region.
There were many Singaporean works as well. The supplementary sections of the Chinese newpapers had varied contents, the students' newspapers were active, the larger schools also published collections of students' works, many journalists and school teachers were also active in the literary arena.
The situation now is very different from the past. The written word, in any language, has been affected by the change in society. Changes like peace and prosperity, heavier work commitments, the proliferation of the electronic media and the Internet. It is impossible to turn back the clock. Therefore, people who feel concern for the literary scene worry and feel a sense of loss.
But we should not brood about the past. We should create a new future with a positive spirit. I feel that there are those in our society who still love literature and the arts. Given the opportunity and encouragement, they would strive to produce beautiful literary work.
The new policy on Chinese education announced recently by the government reinforced the position of the Chinese language in our society. The policy allows for a flexible way to encourage more Chinese students to achieve higher standards in Chinese, and to nurture a group of Chinese elites with a good command of Chinese.
Moreover, in tandem with society's progress, Singaporeans' appreciation of culture and the arts, as well as our ability for artistic creation, have improved over the past few years. Singapore is no longer a “cultural desert”。
Although we are still far from being a “cultural garden”, the plans for this garden have been drawn up, the groundwork is already laid and the infrastructure （like having a more cultured populace） is starting to take shape.
This development serves as an opportunity for the literati here. The government has already done its best to create a conducive environment with favourable policies. I believe it is now up to the literary and educational circles to tend the garden.
I hope everyone would take this opportunity and, together with the emergence of a Chinese elite, tend to the“Chinese literary arena” plot within our “cultural garden”, so that this plot will bloom and prosper.
To do well in this endeavour, the coordination among the various fields is essential. I hope our Chinese language teachers will employ creative teaching methods to cater to today's students, to encourage the students and arouse their interest in Chinese language subjects and writing, to introduce extra-curricular reading materials to students according to their abilities and interests and to change the impression of Chinese as a difficult and dull subject.
I hope our Chinese language teachers will take it upon themselves to scout for budding writers, and to encourage students who are strong in Chinese to emulate Chinese literary figures for their desire for literary creation and their love for the language. Teachers should also encourage them to do more reading and writing outside the school syllabus, and help them share what they have written with their classmates. Teachers could also send these works to the Chinese press, as well as to students' and teachers' publications.
I hope that the Chinese press could offer more avenues for people to get their writing published. My friends in the Chinese press tell me that at present, there is no lack of contributors, but because of limitations in space, not all their works can be published. I hope that those works of high quality, which could not see print because of space constraints, be compiled into a students' journal. This journal could be introduced to the students via the teachers associations' networks. Thus, works of high quality will not be stifled and students will be encouraged to write and learn from one another.
I hope that more Chinese organisations like societies, clan associations, alumni and so on, will sponsor the publication of anthologies by outstanding writers. I understand that printing 1,500 copies of a 250-page anthology requires only about $5,000, if the writer is not expecting a profit. If individual organisations find it difficult to achieve, they can get together to set up a foundation, strengthen its management and form a selection committee to ensure the quality of the works.
With the publication of more such anthologies, the literary scene will become more active and students and other readers can enjoy more local works. In doing this, more people will be inspired and encouraged to write.
I also hope that those who used to write in their schooldays continue to do so and not to give up because of work and family commitments. I hope they can continue to make writing their hobby, to feel obligated to reflect society in their writings, to channel their emotions with their pens, and to continue the fine literary tradition of working hard without expecting any returns.
I also hope that, within the Chinese-speaking community and the literary and educational circles, those organisations, units and colleagues who are concerned with the Chinese language can increase the cooperation and coordination among themselves. They should be practical and realistic to achieve specific and concrete aims. On the premise of cultivating a cultural garden, we should make individual sacrifices for the greater good, and to work together so that the Chinese elite of the future will have a place under the sun.
We must be pro-active, optimistic and brave. With macro-policies and micro-heartware, we can mould our thoughts into concrete action. Only thus can we create a conducive environment for the learning and usage of the Chinese language in the future, so that the Chinese literary scene can reflect Singapore society and continue to enjoy a high status here. We must not be pessimistic and give up. If we are hesitant, we will miss this opportunity.
掀起發(fā)展華文文藝熱潮
總理公署及社會(huì)發(fā)展部政務(wù)次長(zhǎng)曾士生1月30日為國(guó)大中文系主辦的文學(xué)與社會(huì)研討會(huì)主持開(kāi)幕,暢談他修讀華文文學(xué)作品的經(jīng)驗(yàn),并希望本地文人和社團(tuán),重振過(guò)去文藝創(chuàng)作的熱誠(chéng),使我國(guó)華文文藝再次蓬勃發(fā)展。
以下是他的演講全文。
讀了12年傳統(tǒng)華校,雖然終在理科班畢業(yè),我對(duì)中華文學(xué)仍有深厚的感情。以前讀過(guò)的從兩周春秋戰(zhàn)國(guó)的古文,到漢賦、唐詩(shī)、宋詞、明清小說(shuō),到現(xiàn)代的文學(xué)作品,不少還留在我的心海里。有機(jī)會(huì)讀起,都會(huì)感到非常親切。
從“大同和小康”的理想社會(huì),《三字經(jīng)》的教育哲學(xué)、《道德》的哲理,“送元二使安西”送別摯友的感情,《正氣歌》的慷慨激昂,《水滸傳》生動(dòng)的人物刻劃,《三國(guó)演義》的*雄俠義,到《背影》的父子之情,《與妻訣別書(shū)》英雄兒女的矛盾,《阿Q正傳》笑在嘴里哭在心里的民族悲哀。以不同的方式,不同的角度,反映不同的社會(huì),表達(dá)不同的情操,但同樣的引人入勝。
中華文學(xué)實(shí)可謂源遠(yuǎn)流長(zhǎng),歷盡滄桑。沒(méi)有其他的語(yǔ)文能夠讓讀者們時(shí)至今天仍然欣賞那么多三千年前的佳作,并從古人的智慧中得到那么多的啟發(fā)。
中國(guó)歷代文人對(duì)文字的愛(ài)好,不受盛世或亂世的影響。許多名留千古的文學(xué)創(chuàng)作還是在環(huán)境惡劣,作者身心受打擊的時(shí)候?qū)懗龅摹?BR> 他們都默默耕耘不求回報(bào),以反映社會(huì)情況,與后人分享思維與感情為己任。歷代文人更有“不怕先生怕后生”的專業(yè)精神,工作認(rèn)真,全神投入。這種熱愛(ài)文學(xué)工作的精神,是促成中華文學(xué)源遠(yuǎn)流長(zhǎng),絡(luò)繹不絕的重要因素。
我在蘇州搞工業(yè)園時(shí),便感受到這種文人熱愛(ài)文字的氣質(zhì)。當(dāng)時(shí)我時(shí)常和蘇州市宣傳部與廣播局的朋友們相聚。這些單位文人多,往往一時(shí)興起,便熱情洋溢,無(wú)所不談。
有時(shí)三杯下肚,更出口成章,并取出文房四寶,作詩(shī)題字。文人的感情流露便互贈(zèng)作品,題名留念。我注意到蘇州不少?gòu)V播界人士已經(jīng)出版多部叢書(shū)。詩(shī)集與散文集,并引以為榮。
隨著本世紀(jì)初中國(guó)僑民大量移居海外,文學(xué)工作者也在華僑較多的地區(qū)落戶。新馬的華文文壇有一段非?；钴S的時(shí)代。我記得年輕時(shí)讀過(guò)不少馬華作家的游記、散文與翻譯作品（我通過(guò)華文讀《馬來(lái)紀(jì)年》）,不少報(bào)刊與青年讀物更刊載了來(lái)自東南亞其他國(guó)家的華文作品,促進(jìn)了我對(duì)鄰國(guó)社會(huì)人文的認(rèn)識(shí)。
新加坡作品也不少,華文報(bào)刊副刊內(nèi)容豐富,學(xué)生報(bào)刊蓬勃,較具規(guī)模的華校也搞學(xué)生文集,不少報(bào)人與老師也活躍文壇。
我們現(xiàn)在的客觀環(huán)境,與當(dāng)時(shí)已大有不同。社會(huì)環(huán)境的改變,如太平盛世,工作繁忙,電子傳媒與網(wǎng)際網(wǎng)絡(luò)的盛行,都影響了各語(yǔ)文的寫(xiě)作之風(fēng)。要回去當(dāng)年的境界是不可能了。不少關(guān)心文壇的人士,都因此感到憂慮與遺憾。
但我們不應(yīng)該光是消極的回憶過(guò)去,而應(yīng)該積極的創(chuàng)造將來(lái)。我覺(jué)得社會(huì)中仍不乏喜愛(ài)文學(xué)文藝的人士,如果能夠提供機(jī)會(huì)與鼓勵(lì),激發(fā)他們努力創(chuàng)作,還是能建設(shè)美麗的文藝樂(lè)園。
政府近宣布有關(guān)華文教育的新方針,肯定了華文在我國(guó)社會(huì)的地位,也準(zhǔn)備通過(guò)靈活處理的方式,鼓勵(lì)更多華族學(xué)生達(dá)到較高的華文水準(zhǔn),并培養(yǎng)一批精通華文的精英分子。
另一方面,隨著社會(huì)的進(jìn)步,我國(guó)人民對(duì)文化與藝術(shù)的欣賞與創(chuàng)作能力,這幾年來(lái)與日俱長(zhǎng)。新加坡已不再是“文化沙漠”。
雖然“文化花園”還沒(méi)達(dá)到,但花園已規(guī)劃設(shè)計(jì)好,啟動(dòng)工作已順利展開(kāi),基礎(chǔ)設(shè)施（如較高文化層次的人民）也已開(kāi)始形成。
這些發(fā)展是文壇的機(jī)遇。政府已盡力創(chuàng)造了良好的客觀環(huán)境,提供了優(yōu)惠政策。我覺(jué)得現(xiàn)在應(yīng)該是文教界開(kāi)始如火如荼進(jìn)行園藝工作的時(shí)候了。
我希望大家能抓住機(jī)遇,配合華文精英的產(chǎn)生,努力的把“文化花園”里“華文文壇”這一塊做好,以期能早日開(kāi)花結(jié)果。
要做好這項(xiàng)工作,必須配合各方面的努力。我希望我們的華文老師發(fā)揮創(chuàng)意教學(xué),以適合現(xiàn)代學(xué)生要求的教學(xué)法,鼓勵(lì)與激發(fā)同學(xué)們對(duì)華文科目與寫(xiě)作的興趣,并依同學(xué)們的能力與興趣為個(gè)別的同學(xué)們介紹課外書(shū),改變?nèi)A文難學(xué)乏味的印象。
我希望我們的華文老師們,以發(fā)掘?qū)懽魅瞬艦榧喝?多多鼓勵(lì)華文水準(zhǔn)強(qiáng)的學(xué)生,學(xué)習(xí)中國(guó)文人好創(chuàng)作,愛(ài)文字的特質(zhì)。多看課外書(shū),多寫(xiě)課外文,并鼓勵(lì)與協(xié)助他們把佳作與其他同學(xué)們分享,或送往華文報(bào),學(xué)生報(bào)刊與教師會(huì)的刊物投稿。
我希望華文報(bào)刊多提供投稿機(jī)會(huì)。華文報(bào)朋友告訴我,現(xiàn)階段仍不乏投稿人士,但因篇幅不足未能全部刊登。因此我也希望那些因篇幅不足無(wú)法刊登但水準(zhǔn)尚高的作品,或許能收集成平裝學(xué)生書(shū)報(bào),通過(guò)教師會(huì)的網(wǎng)絡(luò)介紹給同學(xué)們,使佳作不致埋沒(méi)。如此能獎(jiǎng)勵(lì)學(xué)生們寫(xiě)作與彼此觀摩。
我希望更多華社組織,例如社團(tuán)、會(huì)館,校友會(huì)等能資助杰出文人出版叢書(shū)。據(jù)了解,如果作者不求回報(bào),約5000元便能出版1500本250頁(yè)左右的叢書(shū)。如果眾社團(tuán)覺(jué)得孤掌難鳴,可以聯(lián)合起來(lái),成立基金會(huì),加強(qiáng)管理,成立批選委員會(huì),確保作品的素質(zhì)。
多出版叢書(shū),能帶來(lái)較活躍的文壇,學(xué)生與讀者便能讀到更多本地作品,如此拋磚引玉,能激發(fā)與鼓勵(lì)更多人加入寫(xiě)作隊(duì)伍。
我也希望過(guò)去學(xué)生時(shí)代已愛(ài)好寫(xiě)作的人士,不要因?yàn)槊τ谑聵I(yè)與家庭而封筆。我希望他們繼續(xù)把寫(xiě)作當(dāng)作一種嗜好,把反映社會(huì)當(dāng)作是自己的義務(wù)工作,把文筆當(dāng)作是抒發(fā)感情的渠道,繼續(xù)發(fā)揮文人只求耕耘不求收獲的美德。
我也希望華社與文教界關(guān)心華文的組織,單位與同人,加強(qiáng)合作,多加協(xié)調(diào),以實(shí)事求是的態(tài)度,落實(shí)具體項(xiàng)目。以開(kāi)發(fā)文化花園為大前提,犧牲小我,完成大我,群策群力,形成氣候,為日后華文精英開(kāi)辟一個(gè)良好的活動(dòng)園地。
我們必須積極與樂(lè)觀,勇往直前,配合宏觀政策,加強(qiáng)微觀心件,把構(gòu)思形成具體項(xiàng)目與行動(dòng),才能創(chuàng)造日后學(xué)與用華文的良好環(huán)境。使華文文壇,反映新加坡社會(huì),而繼續(xù)享有崇高地位。千萬(wàn)不好灰心悲觀,猶豫不前而坐失機(jī)遇。
Following is the full text of his speech.
For twelve years, I was educated in a traditional Chinese school. Even though I graduated from a science class eventually, I still profess a profound sentiment for Chinese literature. I have studied the ancient texts of the Western and Eastern Zhou Dynasties, the Spring and Autumn Period and the Warring States Period, the rhyme prose of the Han Dynasty, Tang and Song poetry, the novels of the Ming and the Qing Dynasties, as well as modern literature. Much of these were etched in my mind. Sometimes, when I come across these works, I feel a special affinity for them.
From the ideal society of “the Great Harmony and Minor Prosperity”, the educational philosophy encapsulated in the“Three Character Classic”, the emotions of bidding farewell to a close friend in “Farewell to Yuan Er”, the rousing passions of “An Ode to Integrity”, the vivid characterisation of “The Water Margin”, the evil men and gallant heroes of “The Romance of the Three Kingdoms”； to the father-son bond portrayed in “The View of His Back”, the conflicts of heroic men and women in “A Letter of Farewell to My Wife”, the poignant comedy of a nation's sorrow in“The Story of Ah Q”； these works portray different societies and sentiments using different styles and different angles, but they are all equally riveting.
Chinese literature has a very long history and has witnessed some turbulent times. No other language has the ability to let readers enjoy so many literary works that are more than 3,000 years old, nor let them benefit so greatly from the wisdom of the Ancients.
The love of the Chinese literati for their language has never been affected by the state of the world around them. Many great literary works were written in the worst possible environment, when the authors were in the throes of great physical and spiritual pain.
They sought no rewards for their hard labours, only to reflect the society around them so that future generations could share their thoughts and emotions. These literary figures also possessed professionalism. They took their work seriously and were fully committed to their work. This love for writing is an important factor contributing to the breadthless scope and continuity of Chinese literature.
When I was involved with the Suzhou Industrial Park, I could feel the love of literature among the people there. Then, I often met up with my friends working in the Suzhou Municipal Propaganda Department and the Broadcasting Bureau. There were many men of letters in these departments whose impassioned discussions covered a wide range of topics.
Sometimes, warmed by a little wine, they would recite poetry and write them down with brush and ink. They would then exchange these works of calligraphy for fond remembrance. I have noticed that many in Suzhou's broadcasting circles have published anthologies, poetry and essays, and were proud that they have done so.
With the exodus of many Chinese immigrants early this century, men of letters also settled down in places where there were many Chinese immigrants. The Chinese literary scene in Singapore and Malaysia had gone through a very active phase. I remember reading many travelogues, essays and translated works （I read “The Malay Annals” in Chinese）
by Singaporean and Malaysian Chinese writers in my youth. Many newspapers and young people's magazines also published Chinese works from other countries in Southeast Asia. This promoted interaction and understanding among the different societies in the region.
There were many Singaporean works as well. The supplementary sections of the Chinese newpapers had varied contents, the students' newspapers were active, the larger schools also published collections of students' works, many journalists and school teachers were also active in the literary arena.
The situation now is very different from the past. The written word, in any language, has been affected by the change in society. Changes like peace and prosperity, heavier work commitments, the proliferation of the electronic media and the Internet. It is impossible to turn back the clock. Therefore, people who feel concern for the literary scene worry and feel a sense of loss.
But we should not brood about the past. We should create a new future with a positive spirit. I feel that there are those in our society who still love literature and the arts. Given the opportunity and encouragement, they would strive to produce beautiful literary work.
The new policy on Chinese education announced recently by the government reinforced the position of the Chinese language in our society. The policy allows for a flexible way to encourage more Chinese students to achieve higher standards in Chinese, and to nurture a group of Chinese elites with a good command of Chinese.
Moreover, in tandem with society's progress, Singaporeans' appreciation of culture and the arts, as well as our ability for artistic creation, have improved over the past few years. Singapore is no longer a “cultural desert”。
Although we are still far from being a “cultural garden”, the plans for this garden have been drawn up, the groundwork is already laid and the infrastructure （like having a more cultured populace） is starting to take shape.
This development serves as an opportunity for the literati here. The government has already done its best to create a conducive environment with favourable policies. I believe it is now up to the literary and educational circles to tend the garden.
I hope everyone would take this opportunity and, together with the emergence of a Chinese elite, tend to the“Chinese literary arena” plot within our “cultural garden”, so that this plot will bloom and prosper.
To do well in this endeavour, the coordination among the various fields is essential. I hope our Chinese language teachers will employ creative teaching methods to cater to today's students, to encourage the students and arouse their interest in Chinese language subjects and writing, to introduce extra-curricular reading materials to students according to their abilities and interests and to change the impression of Chinese as a difficult and dull subject.
I hope our Chinese language teachers will take it upon themselves to scout for budding writers, and to encourage students who are strong in Chinese to emulate Chinese literary figures for their desire for literary creation and their love for the language. Teachers should also encourage them to do more reading and writing outside the school syllabus, and help them share what they have written with their classmates. Teachers could also send these works to the Chinese press, as well as to students' and teachers' publications.
I hope that the Chinese press could offer more avenues for people to get their writing published. My friends in the Chinese press tell me that at present, there is no lack of contributors, but because of limitations in space, not all their works can be published. I hope that those works of high quality, which could not see print because of space constraints, be compiled into a students' journal. This journal could be introduced to the students via the teachers associations' networks. Thus, works of high quality will not be stifled and students will be encouraged to write and learn from one another.
I hope that more Chinese organisations like societies, clan associations, alumni and so on, will sponsor the publication of anthologies by outstanding writers. I understand that printing 1,500 copies of a 250-page anthology requires only about $5,000, if the writer is not expecting a profit. If individual organisations find it difficult to achieve, they can get together to set up a foundation, strengthen its management and form a selection committee to ensure the quality of the works.
With the publication of more such anthologies, the literary scene will become more active and students and other readers can enjoy more local works. In doing this, more people will be inspired and encouraged to write.
I also hope that those who used to write in their schooldays continue to do so and not to give up because of work and family commitments. I hope they can continue to make writing their hobby, to feel obligated to reflect society in their writings, to channel their emotions with their pens, and to continue the fine literary tradition of working hard without expecting any returns.
I also hope that, within the Chinese-speaking community and the literary and educational circles, those organisations, units and colleagues who are concerned with the Chinese language can increase the cooperation and coordination among themselves. They should be practical and realistic to achieve specific and concrete aims. On the premise of cultivating a cultural garden, we should make individual sacrifices for the greater good, and to work together so that the Chinese elite of the future will have a place under the sun.
We must be pro-active, optimistic and brave. With macro-policies and micro-heartware, we can mould our thoughts into concrete action. Only thus can we create a conducive environment for the learning and usage of the Chinese language in the future, so that the Chinese literary scene can reflect Singapore society and continue to enjoy a high status here. We must not be pessimistic and give up. If we are hesitant, we will miss this opportunity.
掀起發(fā)展華文文藝熱潮
總理公署及社會(huì)發(fā)展部政務(wù)次長(zhǎng)曾士生1月30日為國(guó)大中文系主辦的文學(xué)與社會(huì)研討會(huì)主持開(kāi)幕,暢談他修讀華文文學(xué)作品的經(jīng)驗(yàn),并希望本地文人和社團(tuán),重振過(guò)去文藝創(chuàng)作的熱誠(chéng),使我國(guó)華文文藝再次蓬勃發(fā)展。
以下是他的演講全文。
讀了12年傳統(tǒng)華校,雖然終在理科班畢業(yè),我對(duì)中華文學(xué)仍有深厚的感情。以前讀過(guò)的從兩周春秋戰(zhàn)國(guó)的古文,到漢賦、唐詩(shī)、宋詞、明清小說(shuō),到現(xiàn)代的文學(xué)作品,不少還留在我的心海里。有機(jī)會(huì)讀起,都會(huì)感到非常親切。
從“大同和小康”的理想社會(huì),《三字經(jīng)》的教育哲學(xué)、《道德》的哲理,“送元二使安西”送別摯友的感情,《正氣歌》的慷慨激昂,《水滸傳》生動(dòng)的人物刻劃,《三國(guó)演義》的*雄俠義,到《背影》的父子之情,《與妻訣別書(shū)》英雄兒女的矛盾,《阿Q正傳》笑在嘴里哭在心里的民族悲哀。以不同的方式,不同的角度,反映不同的社會(huì),表達(dá)不同的情操,但同樣的引人入勝。
中華文學(xué)實(shí)可謂源遠(yuǎn)流長(zhǎng),歷盡滄桑。沒(méi)有其他的語(yǔ)文能夠讓讀者們時(shí)至今天仍然欣賞那么多三千年前的佳作,并從古人的智慧中得到那么多的啟發(fā)。
中國(guó)歷代文人對(duì)文字的愛(ài)好,不受盛世或亂世的影響。許多名留千古的文學(xué)創(chuàng)作還是在環(huán)境惡劣,作者身心受打擊的時(shí)候?qū)懗龅摹?BR> 他們都默默耕耘不求回報(bào),以反映社會(huì)情況,與后人分享思維與感情為己任。歷代文人更有“不怕先生怕后生”的專業(yè)精神,工作認(rèn)真,全神投入。這種熱愛(ài)文學(xué)工作的精神,是促成中華文學(xué)源遠(yuǎn)流長(zhǎng),絡(luò)繹不絕的重要因素。
我在蘇州搞工業(yè)園時(shí),便感受到這種文人熱愛(ài)文字的氣質(zhì)。當(dāng)時(shí)我時(shí)常和蘇州市宣傳部與廣播局的朋友們相聚。這些單位文人多,往往一時(shí)興起,便熱情洋溢,無(wú)所不談。
有時(shí)三杯下肚,更出口成章,并取出文房四寶,作詩(shī)題字。文人的感情流露便互贈(zèng)作品,題名留念。我注意到蘇州不少?gòu)V播界人士已經(jīng)出版多部叢書(shū)。詩(shī)集與散文集,并引以為榮。
隨著本世紀(jì)初中國(guó)僑民大量移居海外,文學(xué)工作者也在華僑較多的地區(qū)落戶。新馬的華文文壇有一段非?；钴S的時(shí)代。我記得年輕時(shí)讀過(guò)不少馬華作家的游記、散文與翻譯作品（我通過(guò)華文讀《馬來(lái)紀(jì)年》）,不少報(bào)刊與青年讀物更刊載了來(lái)自東南亞其他國(guó)家的華文作品,促進(jìn)了我對(duì)鄰國(guó)社會(huì)人文的認(rèn)識(shí)。
新加坡作品也不少,華文報(bào)刊副刊內(nèi)容豐富,學(xué)生報(bào)刊蓬勃,較具規(guī)模的華校也搞學(xué)生文集,不少報(bào)人與老師也活躍文壇。
我們現(xiàn)在的客觀環(huán)境,與當(dāng)時(shí)已大有不同。社會(huì)環(huán)境的改變,如太平盛世,工作繁忙,電子傳媒與網(wǎng)際網(wǎng)絡(luò)的盛行,都影響了各語(yǔ)文的寫(xiě)作之風(fēng)。要回去當(dāng)年的境界是不可能了。不少關(guān)心文壇的人士,都因此感到憂慮與遺憾。
但我們不應(yīng)該光是消極的回憶過(guò)去,而應(yīng)該積極的創(chuàng)造將來(lái)。我覺(jué)得社會(huì)中仍不乏喜愛(ài)文學(xué)文藝的人士,如果能夠提供機(jī)會(huì)與鼓勵(lì),激發(fā)他們努力創(chuàng)作,還是能建設(shè)美麗的文藝樂(lè)園。
政府近宣布有關(guān)華文教育的新方針,肯定了華文在我國(guó)社會(huì)的地位,也準(zhǔn)備通過(guò)靈活處理的方式,鼓勵(lì)更多華族學(xué)生達(dá)到較高的華文水準(zhǔn),并培養(yǎng)一批精通華文的精英分子。
另一方面,隨著社會(huì)的進(jìn)步,我國(guó)人民對(duì)文化與藝術(shù)的欣賞與創(chuàng)作能力,這幾年來(lái)與日俱長(zhǎng)。新加坡已不再是“文化沙漠”。
雖然“文化花園”還沒(méi)達(dá)到,但花園已規(guī)劃設(shè)計(jì)好,啟動(dòng)工作已順利展開(kāi),基礎(chǔ)設(shè)施（如較高文化層次的人民）也已開(kāi)始形成。
這些發(fā)展是文壇的機(jī)遇。政府已盡力創(chuàng)造了良好的客觀環(huán)境,提供了優(yōu)惠政策。我覺(jué)得現(xiàn)在應(yīng)該是文教界開(kāi)始如火如荼進(jìn)行園藝工作的時(shí)候了。
我希望大家能抓住機(jī)遇,配合華文精英的產(chǎn)生,努力的把“文化花園”里“華文文壇”這一塊做好,以期能早日開(kāi)花結(jié)果。
要做好這項(xiàng)工作,必須配合各方面的努力。我希望我們的華文老師發(fā)揮創(chuàng)意教學(xué),以適合現(xiàn)代學(xué)生要求的教學(xué)法,鼓勵(lì)與激發(fā)同學(xué)們對(duì)華文科目與寫(xiě)作的興趣,并依同學(xué)們的能力與興趣為個(gè)別的同學(xué)們介紹課外書(shū),改變?nèi)A文難學(xué)乏味的印象。
我希望我們的華文老師們,以發(fā)掘?qū)懽魅瞬艦榧喝?多多鼓勵(lì)華文水準(zhǔn)強(qiáng)的學(xué)生,學(xué)習(xí)中國(guó)文人好創(chuàng)作,愛(ài)文字的特質(zhì)。多看課外書(shū),多寫(xiě)課外文,并鼓勵(lì)與協(xié)助他們把佳作與其他同學(xué)們分享,或送往華文報(bào),學(xué)生報(bào)刊與教師會(huì)的刊物投稿。
我希望華文報(bào)刊多提供投稿機(jī)會(huì)。華文報(bào)朋友告訴我,現(xiàn)階段仍不乏投稿人士,但因篇幅不足未能全部刊登。因此我也希望那些因篇幅不足無(wú)法刊登但水準(zhǔn)尚高的作品,或許能收集成平裝學(xué)生書(shū)報(bào),通過(guò)教師會(huì)的網(wǎng)絡(luò)介紹給同學(xué)們,使佳作不致埋沒(méi)。如此能獎(jiǎng)勵(lì)學(xué)生們寫(xiě)作與彼此觀摩。
我希望更多華社組織,例如社團(tuán)、會(huì)館,校友會(huì)等能資助杰出文人出版叢書(shū)。據(jù)了解,如果作者不求回報(bào),約5000元便能出版1500本250頁(yè)左右的叢書(shū)。如果眾社團(tuán)覺(jué)得孤掌難鳴,可以聯(lián)合起來(lái),成立基金會(huì),加強(qiáng)管理,成立批選委員會(huì),確保作品的素質(zhì)。
多出版叢書(shū),能帶來(lái)較活躍的文壇,學(xué)生與讀者便能讀到更多本地作品,如此拋磚引玉,能激發(fā)與鼓勵(lì)更多人加入寫(xiě)作隊(duì)伍。
我也希望過(guò)去學(xué)生時(shí)代已愛(ài)好寫(xiě)作的人士,不要因?yàn)槊τ谑聵I(yè)與家庭而封筆。我希望他們繼續(xù)把寫(xiě)作當(dāng)作一種嗜好,把反映社會(huì)當(dāng)作是自己的義務(wù)工作,把文筆當(dāng)作是抒發(fā)感情的渠道,繼續(xù)發(fā)揮文人只求耕耘不求收獲的美德。
我也希望華社與文教界關(guān)心華文的組織,單位與同人,加強(qiáng)合作,多加協(xié)調(diào),以實(shí)事求是的態(tài)度,落實(shí)具體項(xiàng)目。以開(kāi)發(fā)文化花園為大前提,犧牲小我,完成大我,群策群力,形成氣候,為日后華文精英開(kāi)辟一個(gè)良好的活動(dòng)園地。
我們必須積極與樂(lè)觀,勇往直前,配合宏觀政策,加強(qiáng)微觀心件,把構(gòu)思形成具體項(xiàng)目與行動(dòng),才能創(chuàng)造日后學(xué)與用華文的良好環(huán)境。使華文文壇,反映新加坡社會(huì),而繼續(xù)享有崇高地位。千萬(wàn)不好灰心悲觀,猶豫不前而坐失機(jī)遇。